Page:A Dictionary of Music and Musicians vol 1.djvu/658

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a good story in Hiller's 'Cherubini' (Macmillan's Magazine, July 1875). Halévy's only didactic work was an elementary book called 'Leçons de lecture musicale' (Paris, Léon Escudier, 1857). This book, revised and completed after his death, is still the standard work for teaching solfeggio in the primary schools of Paris.

We have mentioned Halévy's entrance into the Institut in 1836; in 54 he was elected permanent secretary of the Academic des Beaux Arts, and in this capacity had to pronounce eulogiums, which he published with some musical critiques in a volume entitled 'Souvenirs et Portraits, études sur les beaux arts' (1861). These critical and biographical essays are pleasant reading; they secured Halévy reputation as a writer, which however he did not long enjoy, as he died of consumption at Nice, March 17, 1862. His remains were brought to Paris, and interred with great solemnity on the 24th of the same month.

[ G. C. ]

HALF-CLOSE or Semi-cadence. An equivalent term for Imperfect Cadence, and the better of the two. [See Imperfect Cadence, p. 767a.]

[ G. ]

HALL, Henry, son of Capt. Henry Hall of Windsor, where he was born about 1655, was a chorister of the Chapel Royal under Capt. Cooke. He is said to have studied under Dr. Blow, but this is doubtful. In 1674 he succeeded Theodore Coleby as organist of Exeter Cathedral, an appointment which he resigned on becoming organist and vicar choral of Hereford Cathedral. It is said that about 1696 Hall took deacon's orders to qualify himself for some preferment in the gift of the Dean and Chapter of Hereford. He composed a Te Deum in E flat, a Benedicite in C minor, and a Cantate Domino and Deus Misereatur in B flat, all which, together with 5 anthems, are included in the Tudway Collection (Harl. MSS. 7340 and 7342), and other anthems of considerable merit. The Te Deum has been printed with a Jubilate by William Hine, and an Evening Service by Dr. W. Hayes. Some songs and duets by Hall are included in 'Thesaurus Musicus,' 1693, and 'Deliciæ Musicæ,' 1695, and some catches in 'The Monthly Masks of Vocal Music' for 1704 and 1707. Hall cultivated poetry as well as music; commendatory verses of some merit by him are prefixed to both books of Purcell's 'Orpheus Britannicus,' 1698 and 1702, and to Blow's 'Amphion Anglicus,' 1700. He died March 30, 1707, and was buried in the cloister of the vicars choral at Hereford.

His son, Henry Hall, the younger, succeeded his father as organist and vicar choral of Hereford. He does not appear to have been a composer, but in poetical ability he excelled his father. Many of his poems, among them a once well-known ballad, 'All in the land of cyder,' are included in 'The Grove,' 1721. He died Jan. 22, 1713, and was buried near his father.

[ W. H. H. ]

HALL, William, a member of the king's band in the latter part of the 17th century, composed some airs which were published in the collection called 'Tripla Concordia.' He died in 1700, and was buried in the churchyard of Richmond, Surrey, being styled on his gravestone, 'a superior violin.'

[ W. H. H. ]

HALLE, Charles (originally Carl), born April 11, 1819, at Hagen, near Elberfeldt, where his father was Capellmeister. Began to play very early; in 1835 studied under Rink at Darmstadt. In the latter part of 1836 went to Paris, and remained there for 12 years in constant intercourse with Cherubini, Chopin, Liszt, Berton, Kalkbrenner, and other musicians. In 1841 he married. In 1846 he, Alard, and Franchomme, started chamber concerts in the small room of the Conservatoire. These, though very successful, were rudely interrupted by the revolution of Feb. 1848, which burst out after the second concert of the third series. Halle left for England, and has ever since been permanently settled here [Appendix p.662 "he had visited England before 1848, the date on which he took up his residence here"]. His first appearance was at the orchestral Concerts at Covent Garden (May 12, 48) in the E♭ concerto of Beethoven. He played that season and several subsequent ones at the Musical Union; and at the Philharmonic made the first of many appearances March 15, 52. His connexion with Manchester began soon after his arrival here, and in 1857 he started his orchestral subscription concerts there, which are now so justly famed.

In London Mr. Halle has been closely attached to the Monday and Saturday Popular Concerts since their origin. He is also well known for his annual series of Recitals at St. James's Hall, which began in 1861 with a performance of the whole of Beethoven's sonatas spread over eight matinées. The programmes were illustrated by an analysis of the sonatas with quotations, from the pen of Mr. J. W. Davison, which were as welcome a novelty as the performances themselves. The same programmes were repeated for 2 years, and have since been annually varied through a very large repertoire of classical compositions, including many of the most recent works. Notwithstanding his many public duties Mr. Halle has as a teacher a very large clientèle, both in London and the North. [Appendix p.662 "In July 1888 he received the honour of knighthood and on July 26 of the same year he married Mme. Neruda. Died Oct. 25, 1895."]

[ G. ]

HALLELUJAH. A Hebrew term (hallelu-Jah, 'praise Jehovah') which, like Amen, Selah, Hosanna, etc., has been preserved untranslated in our Bibles. In the Latin Church the Alleluia is sung in the ordinary service, except during Lent. It is omitted from the Anglican Liturgy and Communion Service, but has revenged itself by keeping a place in the popular Easter hymn 'Jesus Christ is risen to-day,' which the writer remembers to have heard sung at Vespers by the French nuns at the Trinita de' Monti.

The Hallelujah Chorus in the Messiah is known to every one. Handel is reported to have said that when he wrote it 'he thought he saw Heaven opened, and the great God Himself.' The phrase 'For the Lord God omnipotent reigneth' is almost identical with that to 'I will sing … unto the Lord' in Israel in Egypt. He has written other Hallelujahs or Allelujahs—though none to compare with this—in Judas Maccabeus, the Occasional Oratorio, and the